Constructions |
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{Most of Jim's art has not been professionally photographed; we're working on it.}
James E. Brewton. "Key to Birmingham." 1964, mixed media construction with souvenir key to city of Birmingham, Ala., 12" x 12" (not including key). Private collection. Photo: Vera Carbo.
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On June 7, 2020, we posted this image of "Key to Birmingham" on social media to participate in saying the names (#saytheirnames) of murdered Black Americans (#BlackLivesMatter). Philadelphia artist and poet Theodore A. Harris responded: "Thanks for this, a work Clement Greenberg would hate, because it's not just about the surface. The work is dealing with what's beneath the Surface Politics of aesthetics and formalism. His subject matter was about facing the world not retreating from it. Artworks are poetic keys to doors of which the locks are always being changed by the slum landlords whose minds are vacant. That blood splattered, grayish-silver square looks like a bloodthirsty guillotine or a window shade where we the viewer can see it is dark outside--and if that's the case then this work positions us on the inside of the bombed church, where we pay the price of the ticket for our faith in humanity."
Visit Theodore A. Harris's website here.
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James E. Brewton. "Spiritis Fermati pour W.C. Fields Rx ALFRED JARRY." n.d., eye-wash cup, bottle and label. Private collection.
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James E. Brewton. "Ubu's Military Mind." 1962, mixed media metal construction, including some of Brewton's medals from service in the Korean War, 35" x 14". Gift to the James E. Brewton Foundation in 2020 from Jason Broede, Carol Broede, and Eric Olson. Photo: Elena Bouvier.
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James E. Brewton. "Ubu's Military Mind" (back). The torn remnants of an exhibition label can be seen at top left.
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James E. Brewton. "The Longest Crayola Drawing in the World." 1965, drawing on spool of adding-machine paper, housed in wooden box with turn crank to view the drawing.
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James E. Brewton. "Three Stander Stoppages for Wall and Floor." 1967, wood, plexiglas, mixed media, 13.5" x 42.5" x 2.5". Private collection.
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James E. Brewton. "Irony Bored." 1967, private collection. (One of several constructions Brewton created with accompanying diagrams. The drawing for "Irony Bored" is titled "Sleeping Irony Bored with Advice.")
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James E. Brewton. "Irony Bored." 1967, private collection (side view).
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James E. Brewton. "Kiss Cage." 1967, wooden cage with aluminum plate and coin. (The accompanying drawing is titled "Notes and Diagram for Kiss Cage without Bahrs." The diagram is damaged but stabilized.)
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James E. Brewton. "Kiss Cage." 1967, private collection (top view).
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James E. Brewton. "Discourse on Thinking." 1966, mixed media construction with bottle, batteries, Rudolf Serkin autograph. Private collection.
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James E. Brewton. "Discourse on Thinking." 1966, mixed media construction with bottle, batteries, Rudolf Serkin autograph. Private collection.
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James E. Brewton. "Automated Autograph." n.d., steel, 33" x 11" x 1.5". This artwork is missing; we believe it was shown in the exhibition, "Society for the Commemoration of Festivals and Fetishes," 15 May-7 June, 1967, Socrates Perakis Gallery, Philadelphia.
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James E. Brewton. "Sea Trap." 1966, coat hooks, driftwood, 22" length; framed certificate, 11.5" x 9". Private collection. (Installation view at Brewton's solo exhibition, "Graffiti Pataphysic, for all mankind," 21 March-1 May, 2014, Slought, Philadelphia.)
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This piece is missing; image is
from a transparency found in Brewton's studio.